Ana María Giménez was a founder member of the
vanguard group in Rosario. But one year before of
the emblematic work Tucumán Arde (1968), she left
the field of autonomic plastic arts to dedicate herself
to another proyect connected indirectly to the artistic work. She founded with a partner “CyN”, a clothes
brand that promoted a style linked to the active role of
woman and the protagonism of young people during
those years. In the context of this period this displacement generated negative appreciations, since that in
this kind of artistic expressions, the political quality
was often not perceived confronted to works and artists which show clearly a direct link with the field of
politics. This fact generated an appreciation extended
in time which became a hierarchical positioning of
some artist above others.